A live performance event that combines Debussy’s masterwork in the composer’s version for piano duet, with dance and film. Produced in collaboration with choreographer Tony Thatcher. The film was shot at Trinity Laban Conservatoire for Music and Dance, The Royal College of Music, the beach at Deal and the Goodwin Sands, a ten mile long sandbank lying six miles off the coast at Deal, parts of which are exposed at low tide.

The Pavilion was a temporary structure designed for the international collaborative exhibition by MA students from Central Saint Martins and Tokyo University of the Arts, presented as part of the Folkestone Fringe, in parallel with the Folkestone Triennial 2017.
The role of the Pavilion was to act as a site or place, within, from or around which visitors encountered events, activities, performances, presentations, talks, actions or objects.

Cut. Cast. Reveal is comprised of twelve extreme close-up shots. In colour, of a gardener, obscured by the tree she is working on, as she prunes the branches and shoots of the box pine tree. And, in black and white, shots of students at The Royal Academy Schools in London taking down boards that for 30 years have covered a collection of plaster casts of architectural details (cornices, the capitols of pillars, etc.).

Shot over four weeks in November 2014 on the campus of Aichi University of the Arts in Japan, For An Open Campus is an immersive diary-form film that explores the extraordinary architecture and everyday social life of this campus world designed by Junzo Yoshimura and opened in 1966.

Neue Museen is a 16mm film about the radical, modernist exhibition designs of Italian post-war architect Franco Albini and his collaboration with museum director Caterina Marcenaro in the early 1950s. The film is shot in the galleries of the Palazzo Bianco and Palazzo Rosso in Genoa.

The building of an installation and shooting of a short black and white 16mm film at Site Gallery, Sheffield. Over a four week period, a model film set was created in the gallery, open to the public, which 're-imagined' László Moholy-Nagy's film sequence made for, but never used in, the 1936 British science fiction film 'Things to Come'.

Machine on Black Ground combines archive material and original footage in a film which suggests both the construction of a utopian building and the world viewed from some kind of imagined subterranean space or vantage point.

A commission from The Crown Estate for a large scale permanent lightwork to running between Regent Street and Saville Row in London as part of the redevelopment of New Burlington Place. The design was commissioned but never implemented.

Using 3D-modelling/architectural visualisation software the work takes the form of a multi-screen immersive environment in which the mobile spectator encounters the differences and similarities between screen space and real space.

A corridor for the head, modular in form and to be reconfigured according to the size and proportions of the exhibition space. A video sculpture exploring the architectural space of the gallery and the illusionistic space of a projected image.

A second large scale, permanent light-work for a public site. Again the result of a collaboration with architect Tom de Paor the work will be sited at a large traffic intersection on the outskirts of Cork, Ireland. The design was commissioned but not implemented.

A large scale, permanent, light-work, sited on the Lodge Avenue roundabout on the A13 between the Blackwall tunnel and the Dartford crossing. The work is the result of a collaboration with architect Tom de Paor and forms a part of the A13 artscape.

Video sequences drawn from seminal car chase movies glide across a cycloramic screen surrounding the viewer bound together in an endless and futile pursuit of oneanother. A Film and Video Umbrella commission, with Cornerhouse, Manchester.

At the invitation of Laura Godfrey-Issacs and 'home' Osterley Park House served both as subject and site for a multi-screen video installation drawing on documentary photographs of the making of Dan Graham's film 'Body Press'.

Simulating the movement of a Boeing 747 as it appears to fly through the space between two large video projections Geneva Express plays upon the conventions of continuity editing and the movement of a mobile spectator. A Film and Video Umbrella commission, with The Photographers' Gallery, London.

Commissioned by Steven Bode at Film and Video Umbrella Passagen was a large scale panoramic installation using slide and data projections linked to a touch screen computer. The interface allowed navigation through a branching sequence of still images of both aerial views and the underground transport systems of London, Paris and Berlin.